The wax arch

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The monitoring sheet was a the time of the Weimar Republic in the early 1930s in the context of the group of artists of the New Objectivity in Hannover published magazine . Only twelve issues appeared from the late summer of 1931 to June 1932 under poor conditions in matrix printing and in numbers of only 100 to 200 copies. The publisher of the first five issues was the writer Gustav Schenk , the other issues were edited by the painter and graphic artist Grethe Jürgens .

Those involved in the wax sheet understood the booklet as a tribune for the then young, not yet established art , criticizing the “official”, bourgeois art scene of the city of Hanover. In the end, however, they remained apolitical. For example, Grethe Jürgens wrote in issue 5/6 1932 about the depiction of workers of the time:

“The unemployed, vagrants or beggars are painted, but not because they are 'interesting types', and also not because, like Käthe Kollwitz, for example, you want to appeal to the social conscience and the compassion of society, but because you want to suddenly sees that in these figures lies the strongest expression of our day. "

The magazine was related to the global economic crisis just before the seizure of power by the National Socialists one.

literature

  • Henning Rischbieter : The twenties in Hanover. Fine arts, literature, theater, dance, architecture, 1916 - 1933. From August 12 to September 30, 1962 , catalog for the exhibition, Hanover: Kunstverein eV , 1962, p. 224
  • Grethe Jürgens : History of the wax arch. In: Helmut R. Leppien (Red.): Neue Sachlichkeit in Hannover , Kunstverein Hannover , text for the exhibition from May 12th - June 30th 1974, p. 21ff.
  • Ines Katenhusen : Art and Politics. Hanover's confrontations with modernity in the Weimar Republic , at the same time a dissertation at the University of Hanover under the title Understanding a time is perhaps best gained from her art , in the series Hanoverian Studies, series of the City Archives Hanover , Volume 5, Hanover: Hahn , 1998, ISBN 3-7752-4955-9 , pp. 381ff.
  • Ines Katenhusen: Wachsbogen, Der W .. In: Klaus Mlynek, Waldemar R. Röhrbein (ed.) U. a .: City Lexicon Hanover . From the beginning to the present. Schlütersche, Hannover 2009, ISBN 978-3-89993-662-9 , p. 651.

Individual evidence

  1. ↑ a b c Ines Katenhusen: Wachsbogen, Der ... (see literature)
  2. ^ According to Manja Seelen quote from Schmied: Neue Sachlichkeit (1969), p. 253; reproduced in Manja Seelen: The image of women in the works of German artists of the new objectivity , also dissertation 1993 at the University of Cologne, Münster; Hamburg: Lit, 1995, ISBN 3-8258-2531-0 , note 223 on p. 91; online through google books
  3. ↑ Review by Peter Paret: Three Perspectives on Art as a Force in German History. (Review Article). In: Central European History. Vol. 34, 2001, pp. 83-89, here pp. 85-86. ( JSTOR Stable URL ). Retrieved June 28, 2013.
  4. ↑ Review by Thomas J. Saunders: The Postmodern Twenties ?. In: New Political Literature , vol. 46 (2001)